PERFORMING ARTS OF INDONESIA
(PERFORMANCE EDUCATION AND ARCHIVE)1
BY
I MADE BANDEM
I. INTRODUCTION
Indonesia is the largest archipelago in the world. It consists of
roughly 17,000 islands, 6,000 of which, covering 60% of its area size, are
populated. As expressed in the caption of the coat of arms “Bhineka
Tunggal Ika” (meaning Unity in Diversity), Indonesia has extremely diverse
population, with different historical and socio-cultural backgrounds.
There are probably over 400 ethnic groups found in the island with over
300 ethnic languages. Currently, the population of Indonesia is about
220 million people. As a nation, Indonesia is bound together by one
common language, known as Bahasa Indonesia.2
Due to the historical and socio-cultural diversity within the
population, each ethnic group of Indonesia has developed their own
unique visual and performing arts. Presently, there are dozens of style
and hundreds of form of performing arts, which most of them have been
survived and inherited over generation after generation, while some of
them are newly created. Even though, they have different stages of
development, those performing arts still in existence simultaneously.
Additionally, there are many evidence of cultural assimilation between the
Indonesian culture with some foreign culture such as the cultural
elements of India, China, Arabic countries, Portuguese and Western
continents. Through adaptation, these foreign elements blended
themselves with local cultures in which enrich the original cultures. As a
result the Javanese and the Balinese Wayang Wong dance drama is quite
different from the Kathakali of India, the Sumatranese and Rudat dances
of Lombok are not found in Arabic countries, and Keroncong music of
Indonesia is only similar to that of Portuguese music.
II. PERFORMANCE
Performing arts (that is music, dance and drama) have been an
important part of Indonesian culture life through the archipelago. It is a
very fortunate that examples of performing arts from many eras of
Indonesia’s past still survive today kept alive by the vital Indonesian way
of life.
1
This paper is presented at Pre-Conference of Society for Ethnomusicoloy at Wesleyan University,
Middletown Connecticut, October 24-28, 2008.
2
Terry E. Miller and Sean Williams, ed “Indonesia,” The Garland Handbook of Southeast Asian Music (New
York: Routledge Taylor & Francis Group, 2008), 334. See further, Henry Spiller, Gamelan Music of
Indonesia, (New York and London: Routledge Taylor & Francis Group, 2008), 41.
1
The earliest form of Indonesian performing arts were indigenous
origin, they were entirely religious and magical in nature, founded in
practices of ancestor worship. They were (as their surviving forms still
are) performed not for aesthetic or entertainment reasons, but to secure a
practical result, such as rain making, or to free the community from
curse, such as epidemic.
These performing arts were communal in nature, and involved a
high degree of audience participation. Performers were drawn entirely
from local community. Masks were often employed of a type like Kuda
Kepang (Central Java) and Kuda Lumping (West Java).
Costumes made of leaves and palm fibers, animal skin and the like
were worn. Accompaniment was provided by ketungan, simple slit drum
and its interlocking rhythmic parts provided a source for the elaborate
kotekan or imbal of the Balinese and Javanese music today. Vocal music
by male chorus and chanting by female choral group also part of the
accompaniment of Indonesian performing arts and high pitch of affection
help to create the required mood. The indigenous Indonesian performing
arts mainly dance does not seem to have involved any narrative element of
the plot and characterization are absent. In general, dance in this context
may be regarded entirely as adjunct to worship.3
Hudoq is a generic term for mask-dance for Dayak people in East
Borneo. There are four types of Hudoq dance belonging to Kenyah group
of East Borneo, namely Hudoq Kibab, Hudoq Taing, Hudoq Kita and Hudoq
Maok. It is a ritual or fertility dance related to seasonal cultivation of the
rice among the Dayak people in East Borneo. Hudoq is usually performed
to comfort the spirit of Earth (Bali Tana) and to chase away evil spirit who
might arms the rice during its planting, growing, and harvesting.4
Kuda Kepang may be only remnant of the indigenous dance in
Central Java. It is performed by two to six people and each of them rides
a hobbyhorse of woven bamboo. The genre is also found in West Java as
Kuda Lumping, and in Bali is called Sang Haying Jaran. All of these
dances involved putting one or more dancers into trance to receive
possessing divinities by means of incense, chanting and prayers. Then
inhibited by gods, animal spirits, the performance interact with audience
and occasionally with each other, dancing mimicking animal movements,
and in some localities speaking as oracles. The performance in variably
involved improvisation by the visiting spirits and they often step on hot
coal fire. In all varieties of this dance is included an element of ritual,
purification even exorcism.
The Balinese Sang Hyang Jaran is
accompanied by Cak chorus, which is a group of men drawn from the
audience, who chant and sing make vocal percussive pattern of a very
distinctive nature.
3
I Made Bandem and Fredrik deBoer, Balinese Dance in Transition: Kaja and Kelod (Kuala Lumpur:
Oxford University Press, 1995),1.
4
Joce Maceda, Nicole Revel McDonald, and I Made Bandem, Music of the Kenyah and Modang in East
Kalimantan, Indonesia (UNESCO in Corporation with the Department of Music Research, College of Music.
UP Quizon City, 1979), 3.
2
The next function of the Indonesian performing arts may be a
supplementary item in ceremonial activities to enlighten and accomplish a
certain atmosphere. Dances of the type were introduced during the Hindu
period in Indonesia.
Little is known of the characteristic of the early Hindu Javanese
court dance in Java before approximately the 12th century AD. The oldest
of the presently surviving dance form, the Wayang Topeng was developed
in Java during the Singasari era. Gambuh is the Balinese dance drama
was probably brought from Java to Bali, following the conquest of the
island by Gajah Mada in 1343 AD. Gambuh is the oldest and most formal
of the many varieties of dance drama on the island. Archaic, formal, and
very stately, accompanied by an orchestra with a unique sound of wailing
flutes, and presented by dancer-actors who chant into their speech.
Gambuh is much to be appreciated for its classic beauty and for its
importance as an archetypal form of Balinese dance.5
Wayang Topeng, a masked-dance drama may be the oldest form of
the Javanese dance drama. It was first appeared in the period of Kediri
kingdom in East Java in the 12th century A.D. This dance drama took its
story from the Ramayana and Mahabharata, the two great epics from
India. Only then in the 14th century A.D, the Wayang Topeng used the
Panji story as its theme.6
After the fall of Majapahit kingdom, the center of Hinduism in
Indonesia, and the raise of Islamic kingdom in Central Java, the cultural
activities shifting from East to Central Java. The Wayang Topeng was well
survived and has become source of the present Javanese Wayang Wong.
Wayang Wong is a Javanese dance drama, a harmonious combination of
dance, music and drama. The story is an important aspect in Wayang
Wong, providing a structure and characterization for the play and for the
succession of dance in Java. The Wayang Wong is accompanied by the
Javanese gamelan, both pelog and slendro that consists of percussive
instruments.
The Islamic elements on Indonesian dance today are also
prominent. Many dance forms of Sumatra is strongly influenced by
Islamic culture. One this type is called Rangguk. This dance was in fact
created during the early Islam period to accompaniment of rebana, a
single Indonesian headed drum.
Rangguk is performed during the
harvest, for wedding ceremony and for the commemoration of Prophet
Mohammed’s birth. In many performing arts literature of Indonesia stress
has been placed to Hindu and Islamic influence, and less has been on the
important Chinese aspect of traditional Indonesian culture, relation may
have existed between Po-Li and China as early as fifth century AD. The
ancestor of the Barong is surely the Chinese Lion dance, which appeared
5
N.L.N. Swasthi Wijaya, “Dramatari Gambuh dan Pengaruhnya pada Dramatari Opera Arja di Bali”
(Yogyakarta: Universitas Gajah Mada, Ph.D. diss. 2007), 181. See also Sumarsam, Gamelan Cultural
Interaction and Musical Development in Central Java (Chicago and London: The University Chicago Press,
1995), 21-22.
6
R.M. Soedarsono, Wayang Wong Drama Tari Ritual Kenegaraan di Keraton Yogyakarta (Yogyakarta:
University Gajah Mada Press, 1997), 161.
3
during the T’ang Dynasty (seventh to tenth centuries) and spread to many
part of Eastern Asia.7 Originally it seems to have been showman’s
substitute for a real “lion-acts”, performed by itinerant professional
entertainers who followed seasonal fairs and festival. Associated with
Buddha, the Chinese Lion dance acquired exorcist connotation, which is
still possessing today.
We do not know when Indonesian Barong
appeared, but existed in many places in Java and Bali, until the present
century.
Another function of Indonesian performing arts is as entertainment,
in which the artistic presentation is included. These dances are usually
performed just for recreation and entertainment and are not often given
on occasion connected with religious observances. Joged Bumbung of Bali
may be best example to illustrate this function. It is a social dance
performed by two or more girls. Joged Bumbung included the part of
ibing-ibingan, where the two girls tap on the shoulders of audience and
invite them to dance. An audience without any dance backgrounds steps
on the stage and dance with the joged dancers.
In modern Indonesian society, there have been many ‘kreasi baru’
(new dance) created and many new choreographers of new genre included
Bagong Kusudiardjo, Sardono W. Kusumo, I Wayan Dibia, Sal
Murgiyanto, and Swasthi Wijaya.
Sardono W. Kusumo has been
successfully in establishing the status of contemporary dance in Indonesia
with his work such as Cak Rina, Rama Samgita, and Calonarang dance
drama.
Swasthi Wijaya has been very successfully also in putting together a
large number of dancers and musicians in one pan Indonesian
choreography known as Apodapoda. This is a legendary about how the
Cendrawasih acquired its beautiful feathers. His name is Logohu, and
feels they jealous of the other birds of the forest because they have
beautiful colored feathers, while he only has black one like a crow.
Accordingly he requests the gods of the forest for more colorful ones. His
request is granted, but he is told to choose the color he wishes to wear.
Therefore, he has to travel around to search for the correct choice.
Confused by the profusion of colors available, he returns to the gods and
requests that he made multicolored. This proved acceptable, but soon
learns that people are eager to kill him to get his feathers. Although his
life is more colorful, it is must less secure. Moreover, his wife is distressed
by the change in his appearance and weeps. The finale displays a group
of eight dancers whose costumes turn from black to veritable rainbow of
bright hues. Hunters come and chase them away. Beneath the story
there is a plea for conservation of Indonesia’s wildlife species, many of
which are under threat of extinction. When Cendrawasih was created, the
colors were chosen, not by searching in the forest, but by going to the
different island of Indonesia.
The performance thus becomes an
expression of unity and diversity “Bhineka Tunggal Ika” as the national
motto puts it, of the Indonesian people.
7
Bertold Laufer, Oriental Theatricals, (Chicago: Field Museum of Natural History, 1923), 29.
4
III. EDUCATION
Teaching (education) of Indonesian performing arts is conducted in
numerous ways, which can be seen from the kinds and systems to be
applied. There are two kind of systems used in Indonesian performing
arts education that are formal and non-formal education. According to
the non-formal education, study of performing art has been carried
outside the formal school. In Java it has formerly been conducted inside of
the palace wall, as seen at the court of Sultan Hamengku Buwono in
Yogyakarta and at the court of Mangkunegaran in Surakarta. The Kings
and other members of the royal families usually acted as patron and even
some of them became prominent choreographers and composers. In the
17th century A.D. King Sultan Agung of Mataram Kingdom of Yogyakarta
was famous for his classical dance choreography, Bedaya Ketawang, a
court dance that is still performed at present time.8
In Bali, the non-formal education in performing arts was
traditionally carried out in and outside the Balinese Raja-raja courts. The
culture of Bali that is based on Hindu religion has great impact to the
growth and development of Balinese traditional performing arts. The
favorable atmosphere produced by this condition helps arouse the success
of performing arts education both in the courts and within the villages
themselves. The Kings and royal families of Balinese Raja-raja commonly
took their performing arts-candidates (dancers) from the talented village
children to the court and lived as the court dancers. Eventually, when
these court dancers retire from their job at the court, they return to their
home village and begin to transmit their dancing skills to the next village
children, and this process of regeneration occurs from generation to
generation until the power of the Kings was replaced by the power of
democracy.
When Balinese Kings were not as patron anymore, however,
performing arts education within the island could keep developing without
so much hindrance. Under the support of the communal organization,
the banjar, the performing arts clubs exist everywhere. By now, according
to the latest data recorded by STSI, the Indonesia College of Arts,
Denpasar (now ISI Denpasar), there are 5612 performing arts groups
found in Bali and great number of them specializing in dance and music.9
Meanwhile, in the case of formal education in performing arts, since
the Indonesian independence in 1945, performing arts education has been
under the national system of education.
According to the Indonesian educational system for high school
level, the visual and performing art classes are conducted by special
vocational schools known as Sekolah Menengah Kesenian Indonesia
8
See further R.M. Soedarsono, Wayang Wong: Drama Tari Ritual Kenegaraan di Keraton Yogyakarta
(Universitas Gajah Mada Press, 1997), passim.
9
I Gde Suyatna, I Made Bandem, A.A. Made Djelantik, I Wayan Geria, I Nyoman Erawan, Peta
Kebudayaan Bali (Pemerintah Daerah Bali: Universitas Udayana dan STSI Denpasar, 1992), 5.
5
(SMKI), senior high school for visual and performing arts which are
specified into some divisions and study programs. The performing arts
study program is most popular program and this field, beside of giving
training on performing arts technically, also provides a number of theory
classes such as Indonesian language, religion, dance composition,
literature, and cultural history that can help to support the profession of a
dancer, actor, and musician.
At the higher education level, arts education is succeeded in similar
ways as that in the high school levels. It is critical to note here that history
and development of arts higher education in Indonesia is unique and
challenging one. Arts higher education is the accolade and triumph of a
nation. It is strives to preserve the arts as an integral notion to the
wholeness, majestically, and prestige of a nation. Since the beginning, arts
higher education in Indonesia stems from the notion of nationalism, where
arts is such a stimulus to nurture, foster and augment national pride. The
idea is forever maintained and adjusted following the course of time.10
A. Colonial Period (1900-1942)
During the Dutch colonization of early 20th century, arts education
for the natives was neglected. The main objective of colonial schools was
to produce officers in the field of administration, health, legal matters, and
etcetera. Within the elementary levels, natives are only given inadequate
drawing and singing lessons.
Taman Siswa, a private school established by Ki Hajar Dewantara
1922 was the pioneer to forward the necessity of arts education as
foundation for augmenting nationalism during those periods. Taman
Siswa provided Javanese dance and music classes. In Surakarta circa
1923, the Padhasuka (Pasinaon Dhalang Surakarta) puppetry class was
also established, alongside the Habiranda (Habirawakake Rancangan
Andhalang puppetry class and the KBW (Kridha Beksa Wirama, 1918)
dance course, to which was followed by the established of the PDMN
(Pasinaon Dhalang Mangkunegaran, 1930) puppetry course within the
Mangkunegaran, Surakarta region. Such idea was also purported in West
Sumatra by the establishment of INS Kayu Taman that provided fine art
and modern music courses. Meanwhile, arts studies in Bali were
maintained using the traditional system called masisya in village halls all
over the island. During these colonial times, arts education based on
tradition represents the building of national pride, nobility, grandness,
and self-esteem.
10
Consortium of 18 members has formed by the Directorate General of Higher Education, Ministry of
National Education of Indonesia, to formulate the History and New Paradigm of Higher Arts Education in
Indonesia, 2003-2006. Consortium members consist of Supeno Djanali, Paulina Pannen, I Made Bandem,
Soetarno, Soeprapto Soedjono, Iwan Sabana, Suminto A. Sayuti, Wagiono Sunarto, Hermien Kusmayati,
Triyono Bramantyo, Primadi Tabrani, Sal Murgiyanto, Risman Marah, Teguh Prakoso, and Agus Tatang
Sopandi. Material on history and new paradigm of higher arts education in Indonesia presented here is a
condensed form and part of the Buku I Paradigma Baru Pendidikan Tinggi Seni di Indonesia, 2005.
6
B. Early Development Period (1915-1963)
As the anti-Dutch spirit became stronger during the Japanese
occupancy (1942-1945), it became even clearer that art is truly the symbol
of national pride and nobility. After independence, that comprehension
heighten further during the first ever Indonesian Culture Congress in
Magelang, 1948, to which recommended the establishment of art
academies. Following the directive of the Minister of Education and
Culture in 1949, the Indonesian Fine Art Academy (ASRI) and the
Indonesia Music School were established within Yogyakarta during 1950
and 1952 respectively. Moreover, the Drama and Film Academy (ASDRAFI)
was established in Yogyakarta, 1954 as well as the Indonesian National
Theatre Academy (ATNI) in Jakarta circa 1955.
Earlier in Bandung circa 1947, Ries Mulder and Simon Admiraal
initiated the establishment of Tertiary Drawing Teachers School (Balai
Pendidikan Universiter Guru Gambar), to which oriented upon the studies
of Western Fine Art. This approach is implemented also at the Indonesian
Fine Art Academy (ASRI) and the Indonesia Music School of Yogyakarta
three years later.
Aside from modern arts higher education in Bandung and
Yogyakarta between 1947 and 1950, arts higher education based upun
local cultures were also instituted in Surakarta and Yogyakarta. The
Indonesian Music Conservatory (KOKAR, now SMKI) was established in
Surakarta during 1951, whereas the establishment of Dance Conservatory
(KONRI) in Yogyakarta ensued later in 1961.
Movements to develop locally oriented arts higher education also
occurred in Bandung and Denpasar. In both cities, music conservatories
(KOKAR) were established in 1960 and 1961 respectively.
The above elaboration shows that arts higher education since its
first inauguration, purport two main orientations, firstly upon local ethnic
cultures and secondly toward Western modern arts. However, both
orientations support the notion of art and national pride and competitive
edge.
C. Progress Period (1963-1983)
In its later progress, higher learning in arts followed the
establishment of academies both in Yogyakarta and Surakarta, especially
to contain further education of KONRI and KOKAR graduates.
The Indonesian Dance Academy (ASTI) was established in Yogyakarta
in 1963, Indonesian Music Academy (AMI) 1964, whereas in Surakarta,
the Indonesian Music Academy (ASKI) was also established in 1964. Such
art academies purporting local cultures were also established in Padang
Panjang (ASKI) in 1966, ASTI Denpasar in 1967, and ASTI Bandung in
1970.
7
In Jakarta circa 1970, the Jakarta Arts Education or Lembaga
Pendidikan Kesenian Jakarta was established focusing in the field of
dance, music, fine art, and cinematography. As fusion of Indonesian
traditional arts and Western modern arts LPKJ transformed as Jakarta
Arts Institute (Intitut Kesenian Jakarta) in 1981.
During these two decades, a higher awareness upon the necessity of
arts higher education surfaced all over Indonesia, particularly the
fathoming of art as an integral aspect of modern life as well as a medium
to preserve the national heritages of Indonesia.
Initially, arts higher education in Indonesia followed the paths of
vocational education. However, it changed into an academic orientation
following the implementation of the 1974 curriculum and its Credit
Semester System.
D. Advance Period (1984-present)
The arts higher education system of academies thriving during
1961-1981 later progressed into a more sophisticated system following the
rise of arts institutes.
In 1984, the “arts trio” in Yogyakarta including STSRI “ASRI”, AMI,
and ASTI were amalgamated as Indonesian Arts Institute (ISI) Yogyakarta.
In the same year, the ITB Fine Art of Bandung progressed as the Fine Art
and Design Faculty of ITB.
Meanwhile, the other art academies also elevated their status,
including ASKI Surakarta became STSI in 1988 (now ISI Surakarta, 2006).
ASTI Denpasar became STSI Denpasar in 1988 (now ISI Denpasar, 2003),
ASTI Bandung became STSI in 1995, ASKI Padang Panjang became STSI
Padang Panjang in 1996.
The New Paradigm of Arts Higher Education.
1. Until 1974, arts higher education in Indonesia continues to
promote the sanggar method. The main purpose of such approach
was to accommodate the rising of capable artists under direct
supervisions of the maestros. The implementation of the Credit
Semester System, as an approach for academic evaluation was
expected to establish a balance between the artistry and scholarly
level.
2. To this date, the paradigm for arts higher education puts more
emphasize on content based curriculum, meanwhile the new
paradigm for arts higher education highlights and stresses the
necessity of competence based curriculum.
3. To recent times, the paradigm of arts higher education accentuates
on the traditional foundation of certain cultures, either local or
modern-global, while the new paradigm is multi-culture, to which
foster intense cross culture dialogues both local-local or localglobal.
8
4. The present paradigm for arts higher education tends to draw more
attention to the traditionalism of local culture, to which greatly
dispose the accumulation of artistic experiences (empirical) in
contrast
to
the
amazing
of
abstract
conceptualization
(philosophical). Furthermore, such paradigm may abundant in
terms of abstraction, yet lacking in experience.
5. The present paradigm for arts higher education has propensity to
produce culture beneficiaries; meanwhile the new paradigm is
directed to produce agents of change.
In regards to the primary vision as the centre of excellent of art
education, ISI Yogyakarta for example, strives to conduct exemplary
education in the fields of art creation and research that is attuned to
technology
advancements
through
intellectual
or
emotional
transformation.
Objectively, ISI Yogyakarta aims to create a future Indonesian
generation with solid integrity to State Idiology Pancasila, able to
professionally conduct their duties in the community as skillful and
creative artists with scholarly attitude and competency, who have a sense
of responsibility, awareness, and commitment in developing the national
culture, in accordance with their services to the nation and character
building.
Presently, ISI Yogyakarta has three faculties, which offers ninesemester study programs leading to Undergraduate Sarjana Degree in
Arts. Additionally, the Graduate programs of Master Degrees in Research
and Arts Creativity have been established since year 2000, while Doctor of
Philosophy (Ph.D) with concentration of Research and Arts Creativity has
been established since 2005. In addition to two main concentrations, the
creativity and research oriented, since year 2007, ISI Yogyakarta has also
developed a new curriculum on Arts Management.
The faculties are belonged to ISI Yogyakarta as follows: 1) Faculty of
Visual Arts with Department of Fine Arts, Crafts, and Design; 2) Faculty of
Performing Arts with Departments of Dance, Karawitan, Puppetry,
Western Music, and Ethnomusicology; and 3) Faculty of Recorded Media
Arts with Departments of Photography and Television. It is important to
mention here that Department of Ethnomusicology has been also
implemented by Faculty of Anthropology, University of North Sumatra
(USU) in 1980. The Ethnomusicology Department has initiated by Mr.
Parlindungan, former Rector of USU, and established by late Robert E.
Brown under the auspices of The Ford Foundation, Jakarta.
Performing arts of Indonesia generally is still a part of a strong oral
tradition. Music, dance, and theatre are thought orally and still followed a
method called “imitation system”, a teacher standing before the students
and demonstrating his ability to perform and required the students to
follow his movements or his singing style. He then gives correction and
guidance to the students until they are able to imitate everything
correctly. This venue has been carried out since the old time, and when
the masters passed away, they brought with them all the arts they
9
mastered. Therefore, a modern system of documentation is particularly
important.
IV. ARCHIVE (DOCUMENTATION)
Early documentation of Indonesian music, particularly the Balinese
music was brought out by famous German recording industries; Odeon
and Beka. In 1928 they published an anthology of Balinese music which
created interest of many Western musicologists and composers coming to
the island of Bali.11 Colin McPhee, a well known Canadian American
composer came to Bali in early 1931 and then stayed at least for seven
years, which allowed him time to write a very resourceful work on Balinese
music entitled Music in Bali. Up to the present time this book is still
considered as the bible of Balinese music in English. Prior to McPhee’s
book on Balinese music, Jaap Kunst, the father of Ethnomusicology has
written two great books on Indonesian music entitled De Toon Kunst van
Bali (Music in Bali) and De Toon Kunst van Java (Music in Java). The latter
has been translated into English, which has become an important
reference for those interested in the Indonesian music. Additionally, both
works of Kunst are also considered as the most important resource of
study on Javanese and Balinese musical cultures at present.
Presently, there are many scholars have been writing scientific
articles and books on Indonesian music such as Mantle Hood, Judith
Becker, Michael Tenzer, Sumarsam, Endo Suanda, Edward Herbst, I
Wayan Dibia, Lisa Gold, David Harnish, Michael B. Bakan, R. Anderson
Sutton, Margaret J. Kartomi, Marc Perlman, Andrew McGraw, and many
others, and all of their works have a great value of stimulating, inspiring,
for preservation and developing arts of Indonesia.
In 1950’s the establishment and development of Radio Republik
Indonesia, the Indonesian Radio Station has also brought more spirit on
documenting many works on performing arts of Indonesia.
Working together with Lokananta recording industry in Central
Java, Indonesian Radio Station of Surakarta has produced a series of
music disc recording which is contained music of Java, Bali and modern
national music. All of these products became an important source of
presence preservation of Indonesian performing arts.
Efforts on
preservation of Indonesian performing arts also supported by TVRI, the
Indonesian National Television Station where at least
40% of its
broadcasting program varieties of local performing arts. Today, with more
establishing private television companies, such as Bali Television (Bali TV)
and Yogyakarta Television (Yogya TV), local cultures are broadcasted more
than ever before.
Being aware of the advancement of technology today and how it
might affect the traditional performing arts forms (both positive and
11
Edward Herbst, a composer and ethnomusicologist is in the course of undertaking a research project and
planning to produce five CD compilation of old recording of Balinese music from the 1920s. A lengthy note
or monograph may be part of these CD.
10
negative impacts), the Indonesian government has founded many schools
of performing arts, with the idea to give the young generation the
opportunity to study their traditional performing arts with an emphasis on
preserving and developing the traditional performing arts. Such schools
are the Conservatory of Traditional Performing Arts (SMKI), the Indonesia
College of Arts in Sumatra, Bandung; Indonesia Institute of the Arts in
Surakarta, Denpasar, Yogyakarta, Jakarta, as well. Aside from learning
about performing arts through practice and writing, these schools are also
involved in making documentation through modern technological
apparatus.
In 1985, the Indonesia College of Arts, Surakarta has erected a
reasonable size archive of Center for World Music and it keeps more than
3,000 titles of world performing arts works which is installed in different
media such as audio recording, video tape, compact disc and film. The
establishment of this institute and its management has been supported by
the Ford Foundation, Jakarta. Simultaneously, a group of Indonesia
performing arts scholars led by I Made Bandem, Sri Hastanto and
Soedarsono, have also established a Society for Musicology Indonesia
(MMI) in 1989 and presently this institute is called Society for Performing
Arts of Indonesia (MSPI). According to their expertise, all members of this
society are very active in promoting a scientific study on Indonesian
performing arts through recording, newsletter and journal publishing as
well as designing art festivals. Among many, one noticeable effort in the
release of the “Seri Music Indonesia” compilation, which is an audio
recording of numerous musical culture of the archipelago. The project was
advised and lead by Phillip Yampolsky, an ethnomusicologist and former
Program Director of The Ford Foundation, Jakarta.
Since 1982 ASTI (presently ISI Denpasar), the Indonesia Institute of
the Arts in Denpasar has produced more than 50 volumes of cassettes
tape which contain hundred of Balinese performing arts that are made
available for commercial purpose.
These works are documented in
collaboration with the local recording industry (Bali Stereo, Maharani
Stereo, Aneka Record) and it contains different types of performing arts
such as instrumental musical pieces, dance pieces, theatre pieces and
vocal song both solo and chorus singing. All of these recordings are also
important legacy of the Music Archive at ISI Denpasar. The archive is also
enriched by the UCLA Ethnomusicology Collection on world music that
was presented by late Andrew Toth from Brown University, USA in 1984.
In addition to the above collection, ISI Denpasar in collaboration
with Mark Hobart of SOAS of England has put together many video
recordings and discs on Balinese performing arts based on regular TV
program in Denpasar Bali. Probably more than 500 titles of music, dance
and theatre of Bali have been recorded since few years ago. These local
TVRI programs include many forms of performing arts, which previously
have been performed at the Annual Bali Art Festival. This Annual Bali
Arts Festival has been sponsored and organized by the Balinese State
Government. This festival has been executed since 1979 for the idea of
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preservation and development of the cultural tradition of Bali. The main
program of this event includes presentation of Performing Arts, Visual
Arts, Seminar, Competition of Arts, and Procession of traditional Visual
and Performing Arts.
ISI, the Indonesia Institute of Arts in Yogyakarta is the largest
school of arts in Indonesia also concerns with preservation and
development of all form of art, included film and video productions. With
the foundation of Faculty of Multimedia, ISI Yogyakarta is now developing
one large gallery for visual arts, and one big library and archive for
multimedia. Supported by professional and young faculty members
presently ISI Yogyakarta has about 3,000 students and they all need to
use resource materials on arts for the sake of their study and creativity.
ISI Denpasar has also established a huge museum of instrumental
collection in 1997 and this museum is known as “Lata Mahosadhi”. The
name Lata Mahosadhi was chosen as a philosophical analogy relating to
the re-create healing powers of the assembled collection in the museum.
The Center is dedicated to serving the community as a resource facility for
studies and research concerning Indonesian performing arts. This
Performing Arts Museum houses an extensive collection of Indonesian
musical instruments, with examples from throughout Bali, Java, Lombok,
Sumatra and other Indonesian islands. It also contains a collection of
Balinese dance costumes and masks, as well as sculptures and paintings
illustrating performing arts themes. Located at the locus of Denpasar City
this museum project was conceived by I Made Bandem, the former
Director of STSI Denpasar (Rector of ISI Yogyakarta 1997-2006).
The two floors total 4,000 square meters, allows adequate space for
performing arts demonstrations. A “Pura Taksu” a shrine to the inner
spiritual power of the Balinese arts, is located on the northeast corner of
the second floor, which is considered the holiest place in the building. On
the West End of the second floor, there is a small theatre designed for
showing slides, film, and videos.
Additionally, its compact and
sophisticated design allows any performance and lecture demonstrations
utilizing the instruments and theatrical collection easily given.
Aside from making document through audio and video recording, all
of Indonesia Institute of the Arts have published separately scientific
journal on visual and performing arts and such materials are very critical
as reference for learning and teaching. To name a few of these journals,
that ISI Denpasar’s journal is called MUDRA, ISI Yogyakarta’s journal is
called SENI, and ASKI Bandung’s journal is called PANGGUNG. MUDRA
is also published in English, and may this publication become a bridge for
link (connection) with other Visual and Performing Arts Institutions
abroad.
To sum up, it is commonly known that the teaching method of
traditional performing arts in Indonesia is still strongly based on strong
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oral tradition. However, the people of Indonesia as a whole have realized
not only the importance of exhibiting and education of the traditional
performing arts, but also the necessity of a thorough archive system. Thus
over the last decade, many efforts in establishing libraries and archive
centers can be seen throughout the archipelago. Through the utilization
of technology, it is expected that these center can be source of reference
for many generations to come.
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